F350 Default for 24P mode
 

Does any one know how to have the F350 auto switch into in a shutter speed of 1/48 when shooting in 24p mode? The shutter has to be turned on and the default is no shutter speed when 24p is selected. Whish there was a user selectable positon to have 1/48 on when shooting 24P.

Steve,

I know there has been quite a few discussions on the necessity to set the shutter speed to 1/48 when shooting 24P but I have run different tests and cannot really see the point.

Thierry.

I can spot the motion blur on 24p material shot without shutter (or 1/24th shutter) in a second.

I respect your observation Theirry that you yourself cannot see it, but myself and other DPs I know can spot it quite easily. There was never a camera that could create quite that amount of motion blur in the film world.

The motion blur is very apparent. Shoot any moving object with 24P with no shutter on and volia motion blur, very annoying. Even a interview with the subject moving his or her hands will show motion blur without the shutter on.

I was hoping that the shutter could be set as a user default when 24P is selected.

I agree with Steve and Nate, the motion blur aith a 1/24th shutter is distracting and not a natural look. An interesting little thing to try is to examine how your own vision behaves during a fast pan. You don't get a blur of stuff rushing past, you get a kind of stutter as yo look from one side to the other, a bit like a shutter effect.

Alister, I think that all depends on how many pints of Guiness you've had within the last few hours? ;-)

-gb-

That will be the alcohol accumulated shutter!

I am curious, what is the prefered shooting method using this camera, 24P or 60i and why do you choose the 24p look over one or the other?

They are two different aesthetics, with two different styles of production behind them, speaking over-generally. 24p for jobs that would have, maybe 10 years ago, only been shot on film. 60i for things that need to feel live, or maybe like a news-piece.

On the jobs I do, they are such disparate looks that it's something decided on at the executive producer level. Or, put another way, if I'm called for a job they often say "24p, right?", to which I say "Right".

I have been using the 24p mode to shoot corp. work, interviews, and such, and it does remove the "video look" and give it more of a film type quality. After shooting Betacam for the last 10 years, the HD camera (HD) produces detail that makes betacam look like mush. Comparatively speaking there is no comparison; only I have had the ability of producing pictures that were soft without HD.

I am still blown away with the resolution of HD and recently bought a HD-LCD TV for the home front. The general population has not integrated HD into their homes, but with falling prices in HD LCD's this is more of a reality and a matter of time.

The challenge today is getting the HD out to a format that can be played back in HD, without costing a fortune in HD projector rentals for large venues, this seems to be the missing link- cost.

The editing workflow in HD is processor intensive and encoding to other formats, is a time consuming process, we need faster computers!

Nate- I noticed in your sig file you are using Blackmagic card, I am interested in your workflow, after a HD shoot, what do you output, HD, SD
and how do you find the Blackmagic workflow.

It's the same as if I had a Kona instead. I use FCP, so I ingest native using the Sony software.

If I know the project is an SD delivery (and they don't care about HD down the road), then I convert all the HD media to SD 10-bit uncompressed or DV50 immediately, and edit that way...it's faster. If you save the HD media, you could still go back to it if you needed to later.

So at this point I either have a native XDCAM HD timeline, or high quality SD timeline. Both play out the Decklink via HD-SDI, or SDI. If I'm native XDCAM, and about to lay to tape, I render out the native to an 8-bit uncompressed 1080p Quicktime an a 4-drive SATA RAID that I picked up for $1000. That renders the color-correction and graphics to about the highest quality avaialble, and keeps the native MPEG2 from getting recompressed.

In LA, Digibeta decks cost about $400/day, and HDCAM is about $900, and they deliver! At that point you just hook up HD/SDI, deck control, and black ref, and lay off your timeline. My biggest client expects HD online sessions to cost me no less than about $2000, so renting a deck and getting the job done in my jammies is kind of a win-win, no?

None of the dub houses have XDCAM HD decks yet, and even if they did, taking them a disc would be at least a single generation recompress. Down the line maybe they'll have them, and for cheep projects I'd do that.

So anyway, it's all the same whether you have a Decklink or Kona, just the Kona is nicer.

8 Core MacPro's are expected to be launched next week. I run a quad core G5 and quad MacPro and don't find processing power to be a problem. With the decklink card most of the everyday stuff happens in real time. Rendering effects and complex grades takes a little longer, but it's not a deal breaker.

" I convert all the HD media to SD 10-bit uncompressed or DV50 immediately, and edit that way"

Nate are you using compressor or using FCP nested squence or media manger to "render" ?


As far as rendering goes, any rendering with HD content is taking more time than SD content, to be expected, perhaps new computers will take that down a notch.

Compressor. I can add a little bit of sharpness that way, if I choose.